First I looked for the book I had mentioned in the second task , which Piranesi referenced to in his book.
Les Ruines des plus beaux monuments de la Grèce
Body : Xenotheka Library & Body: Architecture library . Which didn’t bring me much
Though the name of the author did bring interesting information about him.
Julien-David Le Roy
Body : Xenotheka Library
(body: architecture library , only incomprehensible results)
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Harrison Wood Gaiger, Art in Theory 1648 1815
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However, delays in publication allowed the French architect Julien David Le Roy to pre tlmpt their efforts with his Les Ruines des plus beaux monuments dela Grece, published in Paris in 1758.
Mallgrave, Architectural Theory
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The first visual images of Greek architecture, as we noted above, came not from the expedition of Stuart and Revett but from the efforts of David Le Roy.
So clearly I took it as one of the books
“Les Ruines des plus beaux monuments de la Grèce” by Julien-David Le Roy (1758) due to their connection.
On further research.
Looking for “Piranesi” I had to change it to “Giovanni Battista Piranesi” , due to the search engine coming only up with texts related to Pirates…
(body : Architecture Library)
Thru this I found out about his prison etchings which was quite interesting though not truly related to the book I am looking into.
Deciding to ask Alice about Roman and Greece architecture, to find maybe some work related to both Piranesis book and the one he referenced.
I added Piranesi to the search to narrow it a bit ( “roman greece Piranesi” , body : architecture library)
I found a book which seemed to talk about this exact opinionating of Piranesis on the Greece architecture and his preference of the roman.
Though always mentioning, referring to Lola Kantor Kazovsky ‘s study of Piranesis works.
David, Architecture Post Mortem The Diastolic Architectu (which I couldn’t find in the Xenotheka)
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Kantor Kazovsky’s Piranesi as Interpreter of Roman Architecture and the Origins of his Intellectual World (Florence, 2006), is a remarkable study of Piranesi’s archaeological views and his attacks on ancient Greece as the requisite frame of aesthetic reference expounded by his contemporaries.
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Thus if Etruscan alternatives to Greece emerged with Piranesi as Lola Kantor Kazovsky has emphasized in her important monograph, this was due both to biographical circumstances and venerable debate.22 Piranesi’s early education in Venice, John Wilton Ely and Lionello Puppi remind us, was marked by his uncle Matteo Lucchesi, an architect involved in the official oversight of harbor works; he introduced Piranesi to Lodoli’s intellectual circle and “to the debate regarding the Etruscan roots of Italic culture as well as to the achievements of ancient Roman technology.”
Thus I decided to put into Alice “Lola Kantor Kazovsky Piranesi”, which brought me the same results again (which I should have anticipated)
So did changing Bodies not bring me much or just putting in her name “Lola Kantor Kazovsky” . Though I did find quite some harsh critic of her work, next to a lot of references and uses of it, which is funny.
Though again a dead end…. In all despair I had to (I have to admit) turn to Google for a minute , mostly to clear some confusion. Like who was Dr. Lola Kantor-Kazovsky.
A researcher in art and theory of art and architecture in the renaissance and the early modern period. With specialization on, the artist and architect Giovanni Battista Piranesi (yes!) and Antiquarian culture in Rome in the 18th century (and so on…)
There I found her book “Piranesi as Interpreter of Roman Architecture and the Origins of His Intellectual World” which in retrospective I had seen before…
While searching her name alone “ Kantor Kazovsky” with the Body of “Architecture Library” , which had brought different results , due to her first name being written behind her surname.
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David, Architecture Post Mortem The Diastolic Architectu
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22 Kantor Kazovsky, Piranesi as Interpreter, 143–192.
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Kantor Kazovsky, Lola, Piranesi as Interpreter of Roman Architecture and the Origins of His Intellectual World (Florence: Leo S. Olschki, 2006).
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10 See, in this regard, Lola Kantor Kazovsky, “Displeasure of Ruins: Piranesi and the Monuments of Ancient Rome,” Apollo 546 (September, 2007): 47–53, who has set Piranesi’s images against the rise of neoclassical historicism and the eighteenth century sentimental poetics of the ruin as defined by Denis Diderot, Jacques Henri Bernardin de Saint Pierre, and Charles Louis Clérisseau among others.
Now finally making sense.
Piranesi as interpreter of Roman Architecture and the origins of his intellectual word, by Kantor-Kazovsky Lola , published in 2006.
